1957 · Belgium
Michel Mouffe is seen as an established artist, who was born and brought up in Belgium. Michel Mouffe was born in 1957. Born in the same country and around the same year are Luc Tuymans and Francis Alÿs.
About Michel Mouffe's works
Michel Mouffe is a key figure within the fields of Minimalism and Abstraction. Towards the end of the 1950s, in New York city, young artists were starting to feel disinterested in the stagnant state of art, which led to the creation of the art movement known as Minimalism. Flourishing in the 1960s, Minimalism was trying to challenge all pre-existing conceptions one would have about art, and get rid of the gestural elements that used to be deemed as fundamental in previous art movements. Rather than paintings, sculptures became characteristic of the movement, providing the artist with the ability to engage with their physical surroundings, thus offering the viewers a harmonious, truthful experience. The main purpose of minimalism was to ground art in its own reality, stripping away any unessential, decorative aspect. Geometrical shapes became a key component of the genre, with an emphasis on delivering illusions of spatial depth in the artworks, while remaining sleek and simplified. Artists like Frank Stella, Dan Flavin or Donald Judd are prominent figures of Minimalism, and were greatly influenced by earlier European abstract movements.
Towards the end of the 19th century, many artists were longing for a change that would allow art to encompass the transitions in society happening at the time. Abstract art therefore indicates a desire to escape the more classical depictions of reality, in which artists were constrained. With the use of geometrical shapes, colours and gestural elements, artists like Pablo Picasso and Georges Braques were able to lay the foundations for what would become a fundamental branch of modern art. With abstract art, objects and figures are simplified, schematised, which can arguably provide the viewer with a more spiritual experience, since the focus is not put on the material world, but represents an invitation to delve into reflection.
Historical Context of Belgium
Throughout the 1930s, Belgian art was to play a essential role in Surrealism, especially through the work of Rene Magritte and Paul Delvaux. Other important Belgian artists of the twentieth century include Marcel Broodthaers, Wim Delvoye, Francis Alys and Luc Tuymans. In the late 19th century, as the period of the avant-garde in Europe began, the Belgian capital of Brussels was a significant hub for the Art Nouveau movement, which included the architect Victor Horta amongst its founders. The Symbolist movement was also a key artistic trend that was greatly influenced by Belgian artists. Key practitioners of this important early precursor to Surrealism include Léon Spilliaert, Jean Delville, Fernand Khnopff and James Ensor.
Further Biographical Context for Michel Mouffe
Born in 1957, Michel Mouffe was predominantly inspired by the 1970s growing up. Conceptualism is often perceived as a reaction to Minimalism, and the leading art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that ensued were all representative of a strong desire to progress and consolidate the art world, in response to the tensions of the previous 1960s. Process art branched out from Conceptualism, highlighting some of its most essential aspects, but going further in creating mysterious and experimental artistic journeys, while Land Art brought creation to the outdoors, initiating early ideas of environmentalism. In Germany, Expressive figure painting was given a second chance for the first time since the weakening of Abstract Expressionism almost two decades, the genre reclaimed its prominence through the brushstrokes of Gerhard Richter, Anselm Kiefer and Georg Baselitz. The cosmopolitan and refined position that New York city held in the 1960s remained just as influential in the 1970s. With multiple world renowned artists gravitating the galleries and downtown scene, the city once again reinforced its reputation as the artistic hub of the era. The critically engaged Mono-Ha movement, comprised of Japanese and Korean artists, flourished in Tokyo in the 1970s. Discarding traditional ideas of representation, the artists favoured a depiction of the world through an engagement with materials and an exploration of their properties. The artworks would often consist of encounters between natural and industrial materials such as stone, glass, cotton, sponge, wood, oil and water, mostly left intact.